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"content": "\u003cp>Jamedra Brown-Fleischman is back as my Do List co-host this week to talk about San Francisco Ballet’s big dance festival, \u003cem>Unbound\u003c/em>, and its 12 world premieres — and about another world premiere from San Francisco queer choreographer Sean Dorsey. Plus, we ask: What would possess seasoned Broadway show producers to mash up the Go-Go’s pop-punk with an Elizabethan melodrama?! The answers await in the podcast above and the story links below.\u003c/p>\n\u003cp>\u003cstrong>April 13\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13829196/twin-voices-of-the-african-diaspora\" rel=\"noopener\" target=\"_blank\">The Ibeyi sisters make thrilling music of the African diaspora\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>April 19-21\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13829213/sean-dorsey-worries-about-boys-in-trouble\" rel=\"noopener\" target=\"_blank\">Choreographer Sean Dorsey offers a transgender and queer take on how to be a better man\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>April 20-May 6\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13829141/the-future-of-dance-on-pointe-at-sf-ballet\" rel=\"noopener\" target=\"_blank\">SF Ballet’s \u003cem>Unbound\u003c/em> looks to partially answer the question: Where is dance headed in the 21st century?\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 13 & 20\u003c/strong>: \u003ca href=\"http://www.ratatet.com/new-events/\" target=\"_blank\" rel=\"noopener\">Allan Hall’s jazz band Ratatet makes exquisite chamber jazz in shows at Berkeley’s Jazz Conservatory and at San Jose’s Art Boutiki\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>April 21\u003c/strong>: \u003ca href=\"http://www.studiograndoakland.org/calendar/2018/4/21/full-color-a-staged-reading\" target=\"_blank\" rel=\"noopener\">The Afro Urban Society and Studio Grand in Oakland present \u003cem>Full Color\u003c/em>, a short story written by Itoro Udofia that has been adapted for the stage in an event honoring Sexual Assault Awareness Month\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>April 10-May 6\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13829147/elizabethan-melodrama-meets-the-go-gos-in-head-over-heels\" rel=\"noopener\" target=\"_blank\">Elizabethan melodrama meets the Go-Go’s pop-punk in the world premiere of the musical \u003cem>Head Over Heels\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>SHOUTOUTS!\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>April 21\u003c/strong>: \u003ca href=\"https://www.eventbrite.com/e/drunk-theatre-tickets-42516267300?aff=pfcal&_eboga=646760143.1523494195\" target=\"_blank\" rel=\"noopener\">Drunk Theatre puts actors to a test that no “method” can prepare them for\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>April 14\u003c/strong>: \u003ca href=\"http://www.slimspresents.com/event/wax-idols-gamh-w-pardoner-humid-sea-witch-presents/\" target=\"_blank\" rel=\"noopener\">The Oakland band Wax Idols has a new album and CD release concert that shows off their morbid sense of punk humor\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ps0QOAiXY3M\u003c/p>\n\n",
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"content": "\u003cp>The Go-Go’s, the all-woman new wave band from the 1980s, might not seem a natural fit for a reboot of \u003cem>Arcadia\u003c/em>, a play by England’s Philip Sidney written in the late 1600s. Elizabethan music, of course, was more about troubadours playing lutes. But somehow the writers Jeff Whitty (of \u003cem>Avenue Q\u003c/em> fame) and James Magruder have built a musical out of Sidney’s obscure work, with the addition of songs like “We Got the Beat,” “Get Up and Go,” “Cool Jerk,” “Vacation,” and, of course, “Head Over Heels.”\u003c/p>\n\u003cp>Michael Mayer (\u003cem>American Idiot\u003c/em> and \u003cem>Spring’s Awakening\u003c/em>) is directing, with Spencer Liff of \u003cem>So You Think You Can Dance\u003c/em> doing choreography, and the show is getting a tryout at the Curran in San Francisco before heading to Broadway. As my co-host Jamedra Brown-Fleischman informed us on The Do List, \u003cem>Arcadia\u003c/em> centers around a king who is told by an oracle (played by \u003cem>Rupaul’s Drag Race\u003c/em> runner-up Peppermint) that he will lose his daughters, his wife, and his kingdom, setting us up for a comedy of mistaken identity and cross-dressing.\u003c/p>\n\u003cfigure id=\"attachment_13829174\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829174\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/HeadOverHeelsReh0085r-1-e1523480246295-800x490.jpg\" alt=\"Alexandra Socha as Philoclea, Jeremy Kushner as Basilius, Bonnie Milligan as Pamela and Rachel York as Gynecia in a rehearsal for ‘Head Over Heels‘\" width=\"800\" height=\"490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/HeadOverHeelsReh0085r-1-e1523480246295-800x490.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/HeadOverHeelsReh0085r-1-e1523480246295-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/HeadOverHeelsReh0085r-1-e1523480246295-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/HeadOverHeelsReh0085r-1-e1523480246295-1020x625.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/HeadOverHeelsReh0085r-1-e1523480246295-1920x1176.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/HeadOverHeelsReh0085r-1-e1523480246295-1180x723.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/HeadOverHeelsReh0085r-1-e1523480246295-960x588.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/HeadOverHeelsReh0085r-1-e1523480246295-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/HeadOverHeelsReh0085r-1-e1523480246295-375x230.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/HeadOverHeelsReh0085r-1-e1523480246295-520x318.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/HeadOverHeelsReh0085r-1-e1523480246295.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alexandra Socha as Philoclea, Jeremy Kushnier as Basilius, Bonnie Milligan as Pamela and Rachel York as Gynecia in a rehearsal for ‘Head Over Heels.’ \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jeremy Kushnier plays the king, Basilius. “When I read the script I laughed my head off, out loud,” he said in an interview as rehearsals began at the Curran. “I like to think of it as a Shakespearean farce, with a lot of heart at the end. It really is relevant, talking about gender politics and racial politics. We can deal with all of these things in the context of this crazy Shakespearean romp.”\u003c/p>\n\u003cp>\u003cem>Head Over Heels\u003c/em> runs at the Curran through May 6. \u003ca href=\"https://sfcurran.com/shows/head-over-heels/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=toxWPNTgs9Y\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"headTitle": "How Do You Solve a Problem Like ‘Timon of Athens’? | KQED",
"content": "\u003cp>One of Shakespeare’s least-produced plays, \u003cem>Timon of Athens\u003c/em> has several strikes against its popularity. Possibly unfinished, the play is thought to have been partially written by prolific Jacobean playwright Thomas Middleton, and doesn’t appear to have ever been performed during Shakespeare’s time. Its also difficult to categorize: \u003cem>Timon\u003c/em> is sometimes labeled a tragedy, sometimes a “problem play,” and rarely ever someone’s “favorite.”\u003c/p>\n\u003cp>Even so, it’s been on the shortlist for Cutting Ball Theater’s co-founder Rob Melrose since 2000, when the then-fledgling company was tapped to stage a reading of the work for the Bay Area Shakespeare Marathon, and \u003ca href=\"https://www.sfgate.com/style/article/Play-s-the-thing-at-Bard-marathon-3063905.php\" target=\"_blank\" rel=\"noopener\">it was a surprise hit\u003c/a>.\u003c/p>\n\u003cp>Now, on the verge of Cutting Ball’s 20-year anniversary, Melrose’s adaptation of \u003cem>Timon of Athens\u003c/em> is both a testament to the experimental nature of his brainchild company (slated to turn over to associate artistic director Ariel Craft in July), and a reflection of the economic disparities that characterize his adoptive neighborhood, the Tenderloin, where Cutting Ball resides at EXIT on Taylor.\u003c/p>\n\u003cfigure id=\"attachment_13829031\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829031\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-800x1101.jpeg\" alt=\"\" width=\"800\" height=\"1101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-800x1101.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-160x220.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-768x1057.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-960x1321.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-240x330.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-375x516.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-520x716.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brennan Pickman-Thoon as Timon of Athens. \u003ccite>(Liz Olson/Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When we first meet Timon (Brennan Pickman-Thoon) he’s jovial, benevolent. He pays out gold to cover a friend’s debt, increases the status of a manservant that he might wed, then invites everyone over for a feast at his expense. Clad in neat, inoffensive grayscale and expensive sneakers, he’s the very model of a modern-day, tech-minted millionaire. The citizens of Athens, all too happy to avail themselves of his seemingly bottomless generosity, carouse with him and sing his praises — all except the ragged philosopher of the street, Apemantus (David Sinaiko), whose ill-tempered pronouncements offer ignored foreshadowing of Timon’s eventual downfall.\u003c/p>\n\u003cp>While Timon as careless spendthrift is as colorless as his tailored suit, Apemantus as oracle is vulgar, florid, and dynamic, cursed like Cassandra to be disbelieved as he looks into the hearts of Timon’s inner circle and finds them hollow. “Who lives that’s not depraved or depraves?” he demands, as a cupid in silver disco chaps (John Steele Jr.) gyrates across the platform thrust of the stage (designed by Michael Locher) as if on a catwalk. Melrose deftly transplants this ancient bacchanal to the decadent excesses of the Bay Area elite, complete with wedge-heeled dancing girls, Venetian party masks, and a blowhard in a custom leather vest (Douglas Nolan, as Ventidius), who busts out an opportune baggie of cocaine, aka “four milk-white horses, trapped in silver.”\u003c/p>\n\u003cfigure id=\"attachment_13829032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829032\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-800x682.jpg\" alt=\"\" width=\"800\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-800x682.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-768x655.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-960x819.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-240x205.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-375x320.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-520x444.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cupid (John Steele, Jr.) struts the catwalk. \u003ccite>(Liz Olson/Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t until Timon’s swift fall from favor once his money runs out that the play really comes into its own. Described by Shakespearean scholar G. Wilson Knight as a “pilgrimage of hate,” Timon’s descent into poverty and justifiable indignation of his so-called friends’ refusal to help in his time of need rivals Lear’s downward spiral. In his “cave” crafted of blue tarp, his clothing reduced to rags, talking frequently to himself, he cuts an all-too familiar figure of urban impoverishment. In just a few scenes he’s gone from one extreme to the other, a fact that Apemantus remarks upon when he comes to visit and trade comically caustic insults.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Historically, the problem of \u003cem>Timon of Athens\u003c/em> is that the play never resolves itself in a truly satisfactory manner. The titular character dies almost of spite before the other plot threads come to an end, and much of the dialogue is so gleefully absurd as to make characterizing it a tragedy nigh impossible. Even so, under Melrose’s sure direction, the able ensemble cast skillfully morphs from lords to servants, senators to soldiers; a few astutely chosen costume pieces (provided by Alina Bokovikova and Erika Mae Martin) anchoring their transformation. Courtney Walsh, in a scene-stealing performance as Timon’s faithful steward, Flavius, offers the audience more nuanced context on her employer’s character than he is able to provide on his own, while Ed Berkeley, as the exiled Alcibiades — who bears a chip on his shoulder almost as large as Timon’s — swaggers in the spotlight, a conqueror in the making.\u003c/p>\n\u003cfigure id=\"attachment_13829030\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829030\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-800x655.jpg\" alt=\"\" width=\"800\" height=\"655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-768x628.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-1020x835.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-1180x966.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-960x786.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-375x307.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-520x425.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Timon (Brennan Pickman-Thoon) toasts his guests. \u003ccite>(Liz Olson/Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the lead, Pickman-Thoon plays to his extremes admirably, from generous benefactor to indigent recluse. But what his Timon possibly lacks is a middle range of emotions. He’s so eventually consumed with pure vitriol, it leaves little room for him to express shades of sorrow, enlightenment, or true self-awareness. This is a detriment in one sense, and yet his inability to see beyond his limited perspective cements him very much in the here-and-now, where crafting the perfect Twitter bio passes for self-examination, and disregarding the counsel of others is a national pastime.\u003c/p>\n\u003cp>Overall, Melrose’s triumphal close to Cutting Ball’s 19th season offers both a rare chance to see a little-performed Shakespearean work, and an opportunity to examine our own attitudes regarding the acquisition and unequal distribution of wealth — in a neighborhood that exemplifies and amplifies the realities of both.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Timon of Athens’ runs through Sunday, April 29, at Cutting Ball Theater. \u003ca href=\"http://cuttingball.com/productions/timon-of-athens/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Cutting Ball Theater Company reveals contemporary themes of tech wealth and inequity in one of the Bard’s least-known plays.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of Shakespeare’s least-produced plays, \u003cem>Timon of Athens\u003c/em> has several strikes against its popularity. Possibly unfinished, the play is thought to have been partially written by prolific Jacobean playwright Thomas Middleton, and doesn’t appear to have ever been performed during Shakespeare’s time. Its also difficult to categorize: \u003cem>Timon\u003c/em> is sometimes labeled a tragedy, sometimes a “problem play,” and rarely ever someone’s “favorite.”\u003c/p>\n\u003cp>Even so, it’s been on the shortlist for Cutting Ball Theater’s co-founder Rob Melrose since 2000, when the then-fledgling company was tapped to stage a reading of the work for the Bay Area Shakespeare Marathon, and \u003ca href=\"https://www.sfgate.com/style/article/Play-s-the-thing-at-Bard-marathon-3063905.php\" target=\"_blank\" rel=\"noopener\">it was a surprise hit\u003c/a>.\u003c/p>\n\u003cp>Now, on the verge of Cutting Ball’s 20-year anniversary, Melrose’s adaptation of \u003cem>Timon of Athens\u003c/em> is both a testament to the experimental nature of his brainchild company (slated to turn over to associate artistic director Ariel Craft in July), and a reflection of the economic disparities that characterize his adoptive neighborhood, the Tenderloin, where Cutting Ball resides at EXIT on Taylor.\u003c/p>\n\u003cfigure id=\"attachment_13829031\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829031\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-800x1101.jpeg\" alt=\"\" width=\"800\" height=\"1101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-800x1101.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-160x220.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-768x1057.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-960x1321.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-240x330.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-375x516.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-520x716.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brennan Pickman-Thoon as Timon of Athens. \u003ccite>(Liz Olson/Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When we first meet Timon (Brennan Pickman-Thoon) he’s jovial, benevolent. He pays out gold to cover a friend’s debt, increases the status of a manservant that he might wed, then invites everyone over for a feast at his expense. Clad in neat, inoffensive grayscale and expensive sneakers, he’s the very model of a modern-day, tech-minted millionaire. The citizens of Athens, all too happy to avail themselves of his seemingly bottomless generosity, carouse with him and sing his praises — all except the ragged philosopher of the street, Apemantus (David Sinaiko), whose ill-tempered pronouncements offer ignored foreshadowing of Timon’s eventual downfall.\u003c/p>\n\u003cp>While Timon as careless spendthrift is as colorless as his tailored suit, Apemantus as oracle is vulgar, florid, and dynamic, cursed like Cassandra to be disbelieved as he looks into the hearts of Timon’s inner circle and finds them hollow. “Who lives that’s not depraved or depraves?” he demands, as a cupid in silver disco chaps (John Steele Jr.) gyrates across the platform thrust of the stage (designed by Michael Locher) as if on a catwalk. Melrose deftly transplants this ancient bacchanal to the decadent excesses of the Bay Area elite, complete with wedge-heeled dancing girls, Venetian party masks, and a blowhard in a custom leather vest (Douglas Nolan, as Ventidius), who busts out an opportune baggie of cocaine, aka “four milk-white horses, trapped in silver.”\u003c/p>\n\u003cfigure id=\"attachment_13829032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829032\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-800x682.jpg\" alt=\"\" width=\"800\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-800x682.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-768x655.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-960x819.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-240x205.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-375x320.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-520x444.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cupid (John Steele, Jr.) struts the catwalk. \u003ccite>(Liz Olson/Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t until Timon’s swift fall from favor once his money runs out that the play really comes into its own. Described by Shakespearean scholar G. Wilson Knight as a “pilgrimage of hate,” Timon’s descent into poverty and justifiable indignation of his so-called friends’ refusal to help in his time of need rivals Lear’s downward spiral. In his “cave” crafted of blue tarp, his clothing reduced to rags, talking frequently to himself, he cuts an all-too familiar figure of urban impoverishment. In just a few scenes he’s gone from one extreme to the other, a fact that Apemantus remarks upon when he comes to visit and trade comically caustic insults.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Historically, the problem of \u003cem>Timon of Athens\u003c/em> is that the play never resolves itself in a truly satisfactory manner. The titular character dies almost of spite before the other plot threads come to an end, and much of the dialogue is so gleefully absurd as to make characterizing it a tragedy nigh impossible. Even so, under Melrose’s sure direction, the able ensemble cast skillfully morphs from lords to servants, senators to soldiers; a few astutely chosen costume pieces (provided by Alina Bokovikova and Erika Mae Martin) anchoring their transformation. Courtney Walsh, in a scene-stealing performance as Timon’s faithful steward, Flavius, offers the audience more nuanced context on her employer’s character than he is able to provide on his own, while Ed Berkeley, as the exiled Alcibiades — who bears a chip on his shoulder almost as large as Timon’s — swaggers in the spotlight, a conqueror in the making.\u003c/p>\n\u003cfigure id=\"attachment_13829030\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829030\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-800x655.jpg\" alt=\"\" width=\"800\" height=\"655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-768x628.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-1020x835.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-1180x966.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-960x786.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-375x307.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-520x425.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Timon (Brennan Pickman-Thoon) toasts his guests. \u003ccite>(Liz Olson/Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the lead, Pickman-Thoon plays to his extremes admirably, from generous benefactor to indigent recluse. But what his Timon possibly lacks is a middle range of emotions. He’s so eventually consumed with pure vitriol, it leaves little room for him to express shades of sorrow, enlightenment, or true self-awareness. This is a detriment in one sense, and yet his inability to see beyond his limited perspective cements him very much in the here-and-now, where crafting the perfect Twitter bio passes for self-examination, and disregarding the counsel of others is a national pastime.\u003c/p>\n\u003cp>Overall, Melrose’s triumphal close to Cutting Ball’s 19th season offers both a rare chance to see a little-performed Shakespearean work, and an opportunity to examine our own attitudes regarding the acquisition and unequal distribution of wealth — in a neighborhood that exemplifies and amplifies the realities of both.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Timon of Athens’ runs through Sunday, April 29, at Cutting Ball Theater. \u003ca href=\"http://cuttingball.com/productions/timon-of-athens/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Rachael Myrow here, pinch-hitting for Cy Musiker this week. Naturally, I picked a co-host from Palo Alto — visual artist and salon organizer \u003ca href=\"http://sahbashere.com\" target=\"_blank\" rel=\"noopener\">Sabha Shere\u003c/a> — and we talked about the upcoming concerts and exhibitions we’re most excited about.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6–8\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828634/science-parties-with-pop-culture-at-silicon-valley-comic-con-2018\" target=\"_blank\" rel=\"noopener\">Science Parties With Pop Culture at Silicon Valley Comic Con 2018\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828637/kronos-quartet-plays-live-to-a-found-footage-homage-to-hitchcock\" target=\"_blank\" rel=\"noopener\">Kronos Quartet Plays Live to Green Fog, a Found Footage Homage to Hitchcock\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 9–14: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828645/other-minds-festival-celebrates-cerebral-and-witty-sound-poetry\" target=\"_blank\" rel=\"noopener\">Other Minds Festival Celebrates Cerebral and Witty Sound Poetry\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Mar. 24– Aug. 12\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828651/cult-of-the-machine-explores-the-magnetic-pull-of-industrial-design\" target=\"_blank\" rel=\"noopener\">Cult of the Machine Explores the Magnetic Pull of Industrial Design\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Mar. 30– Apr. 29:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828662/in-a-time-of-economic-extremes-shakespeares-timon-recast-as-a-silicon-valley-ceo\" target=\"_blank\" rel=\"noopener\">In a Time of Economic Extremes, Shakespeare’s Timon Recast as a Silicon Valley CEO\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828695/haim-plays-the-greek-theatre-on-the-road-to-coachella\" target=\"_blank\" rel=\"noopener\">Haim Plays at the Greek Theatre in Berkeley on The Road to Coachella\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 20–22\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828705/the-classic-chicano-novel-reimagined-as-an-opera\" target=\"_blank\" rel=\"noopener\">The Classic Chicano Novel ‘Bless Me, Última’ Reimagined as an Opera\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Apr. 27-28\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828723/epic-tale-from-the-ancient-indian-ramayan-takes-flight-in-san-francisco\" target=\"_blank\" rel=\"noopener\">Epic Tale From the Ancient Indian Ramayan Takes Flight in San Francisco\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rachael Myrow here, pinch-hitting for Cy Musiker this week. Naturally, I picked a co-host from Palo Alto — visual artist and salon organizer \u003ca href=\"http://sahbashere.com\" target=\"_blank\" rel=\"noopener\">Sabha Shere\u003c/a> — and we talked about the upcoming concerts and exhibitions we’re most excited about.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6–8\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828634/science-parties-with-pop-culture-at-silicon-valley-comic-con-2018\" target=\"_blank\" rel=\"noopener\">Science Parties With Pop Culture at Silicon Valley Comic Con 2018\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828637/kronos-quartet-plays-live-to-a-found-footage-homage-to-hitchcock\" target=\"_blank\" rel=\"noopener\">Kronos Quartet Plays Live to Green Fog, a Found Footage Homage to Hitchcock\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 9–14: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828645/other-minds-festival-celebrates-cerebral-and-witty-sound-poetry\" target=\"_blank\" rel=\"noopener\">Other Minds Festival Celebrates Cerebral and Witty Sound Poetry\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Mar. 24– Aug. 12\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828651/cult-of-the-machine-explores-the-magnetic-pull-of-industrial-design\" target=\"_blank\" rel=\"noopener\">Cult of the Machine Explores the Magnetic Pull of Industrial Design\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Mar. 30– Apr. 29:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828662/in-a-time-of-economic-extremes-shakespeares-timon-recast-as-a-silicon-valley-ceo\" target=\"_blank\" rel=\"noopener\">In a Time of Economic Extremes, Shakespeare’s Timon Recast as a Silicon Valley CEO\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828695/haim-plays-the-greek-theatre-on-the-road-to-coachella\" target=\"_blank\" rel=\"noopener\">Haim Plays at the Greek Theatre in Berkeley on The Road to Coachella\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 20–22\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828705/the-classic-chicano-novel-reimagined-as-an-opera\" target=\"_blank\" rel=\"noopener\">The Classic Chicano Novel ‘Bless Me, Última’ Reimagined as an Opera\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Apr. 27-28\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828723/epic-tale-from-the-ancient-indian-ramayan-takes-flight-in-san-francisco\" target=\"_blank\" rel=\"noopener\">Epic Tale From the Ancient Indian Ramayan Takes Flight in San Francisco\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For nearly two decades now, \u003ca href=\"http://cuttingball.com/productions/timon-of-athens/\" target=\"_blank\" rel=\"noopener\">the Cutting Ball Theater\u003c/a> in San Francisco has taken classics and set them in modern times to make relevant points. That’s the case with Shakespeare’s \u003cem>Timon of Athens.\u003c/em> (Say TIE-mon to sound smart.)\u003c/p>\n\u003cp>Timon in this version of the play is a young, wildly successful CEO who loves to throw wild parties for others like himself. But when his fortunes fail, he finds himself friendless. And because this is a work from Shakespeare, Timon is exquisitely eloquent expressing his rage and disgust.\u003c/p>\n\u003cp>“It’s a very interesting play, but one that you rarely get to see,” says Cutting Board co-founder and director Rob Melrose.\u003c/p>\n\u003cp>Now, he is the first to praise the generosity of techies like those on the theater’s board, but San Francisco is a city marked by sweeping gentrification and radical economic disparity.\u003c/p>\n\u003cp>“We have the experiences of, you know, tech billionaires right up against people living in the street right here in our own neighborhood. The vast income inequality of our city is reflected in this play of Shakespeare’s,” Melrose says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Timon of Athens\u003c/em> runs through April 29 at the Cutting Ball Theater. \u003ca href=\"http://cuttingball.com/productions/timon-of-athens/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For nearly two decades now, \u003ca href=\"http://cuttingball.com/productions/timon-of-athens/\" target=\"_blank\" rel=\"noopener\">the Cutting Ball Theater\u003c/a> in San Francisco has taken classics and set them in modern times to make relevant points. That’s the case with Shakespeare’s \u003cem>Timon of Athens.\u003c/em> (Say TIE-mon to sound smart.)\u003c/p>\n\u003cp>Timon in this version of the play is a young, wildly successful CEO who loves to throw wild parties for others like himself. But when his fortunes fail, he finds himself friendless. And because this is a work from Shakespeare, Timon is exquisitely eloquent expressing his rage and disgust.\u003c/p>\n\u003cp>“It’s a very interesting play, but one that you rarely get to see,” says Cutting Board co-founder and director Rob Melrose.\u003c/p>\n\u003cp>Now, he is the first to praise the generosity of techies like those on the theater’s board, but San Francisco is a city marked by sweeping gentrification and radical economic disparity.\u003c/p>\n\u003cp>“We have the experiences of, you know, tech billionaires right up against people living in the street right here in our own neighborhood. The vast income inequality of our city is reflected in this play of Shakespeare’s,” Melrose says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Timon of Athens\u003c/em> runs through April 29 at the Cutting Ball Theater. \u003ca href=\"http://cuttingball.com/productions/timon-of-athens/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Theater and music guy Eli Wirtschafter joins me this week as co-host on The Do List, as we celebrate female trios: the three folk singer-songwriters of I’m With Her, the new play from 3Girls Theater Company, the three women singing of the African diaspora at SFJAZZ, and the three girls in iron shoes in a new play at Shotgun. Plus we cover the SF International Film Festival. We hope you like the show, times three.\u003c/p>\n\u003cp>\u003cstrong>April 3 and 4:\u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828123/three-voices-become-one-for-the-singer-songwriters-of-im-with-her\" target=\"_blank\" rel=\"noopener\"> The trio I’m With Her work in perfect harmony in two Bay Area appearances\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 4-17:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828178/bay-area-filmmakers-well-represented-at-the-sf-international-film-festival\" target=\"_blank\" rel=\"noopener\">Plenty of Bay Area movies at the San Francisco International Film Festival \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 21-April 29: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828198/vietgone-mines-laughs-and-insight-from-the-lives-of-vietnamese-refugees\" target=\"_blank\" rel=\"noopener\">Humor and heartache in the lives of Vietnamese refugees in the play \u003cem>Vietgone \u003c/em> at ACT’s Strand Theater\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 6-28:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828207/disruption-flips-the-script-on-sexual-harassment\" target=\"_blank\" rel=\"noopener\">The play \u003cem>Disruption\u003c/em> examines sexual harassment from a male employee’s point of view at 3Girls Theater Co.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 22-May 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828213/walking-a-mile-in-iron-shoes-at-shotgun-players\" target=\"_blank\" rel=\"noopener\">Deconstructing folk tales in the play \u003cem>Iron Shoes\u003c/em> at the Shotgun Players\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 5-8: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828139/african-diaspora-showcase-features-music-from-mali-ethiopia-and-cuba\" target=\"_blank\" rel=\"noopener\">The Bay Area’s Meklit Hadero and Mali’s Fatoumata Diawara \u003c/a>\u003ca href=\"https://www.kqed.org/arts/13828139/african-diaspora-showcase-features-music-from-mali-ethiopia-and-cuba\" target=\"_blank\" rel=\"noopener\">take the lead in a mini-fest of music of the African diaspora at SFJAZZ\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Shoutouts:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>April 8 & 12\u003c/strong>: \u003ca href=\"https://www.livenation.com/artists/200262/gloria-trevi-alejandra-guzman\" target=\"_blank\" rel=\"noopener\">Exuberant Mexican Pop from Gloria Trevi and Alejandra Guzmán at the SAP Center and Golden 1 Center \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://www.phenomenal-anomalies.org/upcoming/\" target=\"_blank\" rel=\"noopener\">The Phenomenal Anomalies do a free dance performance on the Lincoln Steps in San Francisco \u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Theater and music guy Eli Wirtschafter joins me this week as co-host on The Do List, as we celebrate female trios: the three folk singer-songwriters of I’m With Her, the new play from 3Girls Theater Company, the three women singing of the African diaspora at SFJAZZ, and the three girls in iron shoes in a new play at Shotgun. Plus we cover the SF International Film Festival. We hope you like the show, times three.\u003c/p>\n\u003cp>\u003cstrong>April 3 and 4:\u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828123/three-voices-become-one-for-the-singer-songwriters-of-im-with-her\" target=\"_blank\" rel=\"noopener\"> The trio I’m With Her work in perfect harmony in two Bay Area appearances\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 4-17:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828178/bay-area-filmmakers-well-represented-at-the-sf-international-film-festival\" target=\"_blank\" rel=\"noopener\">Plenty of Bay Area movies at the San Francisco International Film Festival \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 21-April 29: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828198/vietgone-mines-laughs-and-insight-from-the-lives-of-vietnamese-refugees\" target=\"_blank\" rel=\"noopener\">Humor and heartache in the lives of Vietnamese refugees in the play \u003cem>Vietgone \u003c/em> at ACT’s Strand Theater\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 6-28:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828207/disruption-flips-the-script-on-sexual-harassment\" target=\"_blank\" rel=\"noopener\">The play \u003cem>Disruption\u003c/em> examines sexual harassment from a male employee’s point of view at 3Girls Theater Co.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>We treasure folk and fairy tales for the insights into our culture that they provide. Disney bowdlerizes and makes movies out of these tales, and we put our children to sleep with them, even though they’re often weird, terrifying, and sexist. So maybe it’s no surprise that the Shotgun Players is presenting the world premiere of \u003cem>Iron Shoes\u003c/em>, a musical deconstruction of three Eastern European folk tales about girls forced to wander the world and wear out a pair (or three pair) of iron shoes, in order to be reunited with a lover or family. The project got its start when Janet Kutulus of the Bay Area’s Kitka, the all woman Balkan music chorus, wrote a song cycle based on the stories. Kutulus then hooked up with director-choreographer Erika Chong Shuch and writer Michelle Carter to put the stories and music on stage. Shuch says the idea was to reevaluate these tales where the girls are powerless, the step-sisters are cruel and the parents are indifferent; and how the storyteller becomes complicit in the suffering.\u003c/p>\n\u003cfigure id=\"attachment_13828222\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828222\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-800x533.jpg\" alt=\"The cast confronts the narrator, Beth Wilmurt, in 'Iron Shoes' at the Shotgun Players in Berkeley\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast confronts the narrator, Beth Wilmurt, in ‘Iron Shoes’ at the Shotgun Players in Berkeley \u003ccite>(Ben Krantz/Shotgun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So we started thinking a lot about narration, and who has the right to tell these stories,” Shuch told me backstage at the theater a few days ago. “And for the girls in iron shoes, other people have been telling their stories. But what kind of shift would happen if the person telling their story, actually had to live thru what they lived through?”\u003c/p>\n\u003cp>There’s lots of humor in \u003cem>Iron Shoes\u003c/em>, despite the post-modern approach. And I found the play, especially the music and dance, deeply moving. And what’s best in \u003cem>Iron Shoes\u003c/em>, is the way it asks what it means to be a sympathetic, empathetic person, even when telling a tragic tale. \u003c/p>\n\u003cp>\u003cem>Iron Shoes\u003c/em> continues at The Shotgun Players at the Ashby Stage through May 6.\u003ca href=\"https://shotgunplayers.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=F72CB6B5-F471-4D48-BA66-D1C249384EAD&menu_id=A9AA731D-A9E2-4E77-ACBB-FF92411BD789&sToken=1%2C890f02ad%2C5abc185b%2C5E2DAF7C-963A-404C-BDA5-8A931B530D2B%2C1Iy0mbR72EO9uySw4KmSI5AKUVM%3D\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_iaxZEfaL50&list=RDEMLm35Se_-DS4rb606Go27tg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We treasure folk and fairy tales for the insights into our culture that they provide. Disney bowdlerizes and makes movies out of these tales, and we put our children to sleep with them, even though they’re often weird, terrifying, and sexist. So maybe it’s no surprise that the Shotgun Players is presenting the world premiere of \u003cem>Iron Shoes\u003c/em>, a musical deconstruction of three Eastern European folk tales about girls forced to wander the world and wear out a pair (or three pair) of iron shoes, in order to be reunited with a lover or family. The project got its start when Janet Kutulus of the Bay Area’s Kitka, the all woman Balkan music chorus, wrote a song cycle based on the stories. Kutulus then hooked up with director-choreographer Erika Chong Shuch and writer Michelle Carter to put the stories and music on stage. Shuch says the idea was to reevaluate these tales where the girls are powerless, the step-sisters are cruel and the parents are indifferent; and how the storyteller becomes complicit in the suffering.\u003c/p>\n\u003cfigure id=\"attachment_13828222\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828222\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-800x533.jpg\" alt=\"The cast confronts the narrator, Beth Wilmurt, in 'Iron Shoes' at the Shotgun Players in Berkeley\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast confronts the narrator, Beth Wilmurt, in ‘Iron Shoes’ at the Shotgun Players in Berkeley \u003ccite>(Ben Krantz/Shotgun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So we started thinking a lot about narration, and who has the right to tell these stories,” Shuch told me backstage at the theater a few days ago. “And for the girls in iron shoes, other people have been telling their stories. 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"title": "'Vietgone' Mines Laughs and Insight from the Lives of Vietnamese Refugees",
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"content": "\u003cp>\u003cem>Vietgone\u003c/em> is Qui Nguyen’s comedy drama about Vietnamese refugees arriving in the US after the fall of Saigon. The play hilariously mocks U.S. culture, with the American characters speaking a pidgin-English loaded with words like “cheeseburger” and “yee-haw.” The Vietnamese characters, which Nguyen says are sort-of based on his refugee parents, tell their stories in rap. The rapping works beautifully sometimes, and then feels contrived and cliched at others. But at its best, \u003cem>Vietgone\u003c/em> offers real insights into the way these patriotic South Vietnamese lost everything when they fled their country, and their struggles to rebuild their lives in the U.S. \u003c/p>\n\u003cp>\u003cem>Vietgone\u003c/em> continues through April 29 at the Strand Theater in San Francisco.\u003ca href=\"http://www.act-sf.org/home/box_office/1718_season/vietgone.highResolutionDisplay.html\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13828202\" class=\"wp-caption aligncenter\" style=\"max-width: 576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13828202\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater.jpg\" alt=\"Members of the cast of 'Vietgone' at ACT's Strand Theater\" width=\"576\" height=\"383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-520x346.jpg 520w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003cfigcaption class=\"wp-caption-text\">Members of the cast of ‘Vietgone’ at ACT’s Strand Theater \u003ccite>(Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Vietgone\u003c/em> is Qui Nguyen’s comedy drama about Vietnamese refugees arriving in the US after the fall of Saigon. The play hilariously mocks U.S. culture, with the American characters speaking a pidgin-English loaded with words like “cheeseburger” and “yee-haw.” The Vietnamese characters, which Nguyen says are sort-of based on his refugee parents, tell their stories in rap. The rapping works beautifully sometimes, and then feels contrived and cliched at others. But at its best, \u003cem>Vietgone\u003c/em> offers real insights into the way these patriotic South Vietnamese lost everything when they fled their country, and their struggles to rebuild their lives in the U.S. \u003c/p>\n\u003cp>\u003cem>Vietgone\u003c/em> continues through April 29 at the Strand Theater in San Francisco.\u003ca href=\"http://www.act-sf.org/home/box_office/1718_season/vietgone.highResolutionDisplay.html\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13828202\" class=\"wp-caption aligncenter\" style=\"max-width: 576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13828202\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater.jpg\" alt=\"Members of the cast of 'Vietgone' at ACT's Strand Theater\" width=\"576\" height=\"383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-520x346.jpg 520w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003cfigcaption class=\"wp-caption-text\">Members of the cast of ‘Vietgone’ at ACT’s Strand Theater \u003ccite>(Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The play, \u003cem>Disruption\u003c/em>, is timed perfectly for the #MeToo moment. It’s about a female CEO who’s accused of sexually harassing a male employee at a Silicon Valley company. As my co-host Eli Wirtschafter notes, that’s still a lot rarer in real life than men harassing women. But the playwright AJ Baker told Eli that by turning the tables, she hoped to make audiences really look at our assumptions about gender and power. \u003c/p>\n\u003cp>“Does the fact that she’s a woman,” Baker said, “is that going to color your reaction? Are you harder on her? Are you easier on her? I wanted to see a woman in that situation, see how it felt.” \u003c/p>\n\u003cp>3Girls Theatre Company’s production of Disruption runs April 6 to April 28 at Z Below. \u003ca href=\"https://3girlstheatre.org/disruption-by-aj-baker/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "An Oakland Church Holds Family Memories in 'Dance of the Holy Ghosts'",
"headTitle": "An Oakland Church Holds Family Memories in ‘Dance of the Holy Ghosts’ | KQED",
"content": "\u003cp>Oakland’s Ubuntu Theater Project last presented Marcus Gardley’s \u003cem>Dance of the Holy Ghosts\u003c/em> in 2015, when it expanded, with assistance from Gardley, from a six-person cast to an ensemble of 15 complete with a gospel chorus. Staged in the aisles of Oakland City Church, Ubuntu brought to life the story of three generations of family history, from the Deep South to the California Coast. \u003c/p>\n\u003cp>Now in a third iteration, with a 17-member ensemble and directed again by Michael Socrates Moran, Ubuntu strikes a mostly effective balance between the ghosts that haunt this sprawling family saga and the earthy humanity that grounds it.\u003c/p>\n\u003cfigure id=\"attachment_13827618\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Dance_355-800x533.jpg\" alt=\"Michael Curry (Marcus) in 'Dance of the Holy Ghosts.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Curry (Marcus) in ‘Dance of the Holy Ghosts.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gardley, who grew up in West Oakland, has an artistically fruitful history of collaborating with Bay Area theatre companies, including Shotgun Players, Cutting Ball Theater, Berkeley Rep, and California Shakespeare Company. But no other West Coast company has tackled \u003cem>Dance of the Holy Ghosts\u003c/em>, Gardley’s homage to his own Oakland roots and complex family history, let alone staged it three times.\u003c/p>\n\u003cp>Additions to the script in 2015 (such as a narrator character, Woman Old As Wisdom) have been removed, though the gospel chorus, who comment on the action and take on various bit parts throughout, remains. Set in the sanctuary of another church (Oakland Peace Center, originally First Christian Church of Oakland) the audience files into the pews while the ensemble sings gospel hymns from the choir loft as the preshow, effectively setting the mood somewhere between reverence and nostalgia.\u003c/p>\n\u003cfigure id=\"attachment_13827617\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Dance_626-1020x1530.jpg\" alt=\"Halili Knox (Viola) in 'Dance of the Holy Ghosts.' \" width=\"640\" height=\"960\" class=\"size-large wp-image-13827617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Halili Knox (Viola) in ‘Dance of the Holy Ghosts.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enter Marcus (Michael Curry), young, suited, somber, alone. He leafs through a leather-bound notebook and begins to sing a Yoruban folk tune, his voice sweet and mournful. Eventually the entire gospel ensemble joins in, arranging themselves on the various levels of the stage as tableaux. In contrast, the only character singing Oscar’s song when he enters from the back of the room is Oscar himself (Berwick Haynes), performing an out-of- character spiritual in a rich baritone, as he progresses slowly down the aisle to take his rightful place centerstage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Part-time patriarch and full-time player, it’s Oscar’s memories that dominate much of the play, interspersed and intertwined with Marcus’, whose attempts to come to terms with his grandfather’s shortcomings as a family man drive his own strolls down memory lane. But before we get to the past, Marcus must find the Oscar of the present to invite him to the funeral of his only child, Marcus’ mother, Darlene (Elizabeth Jones).\u003c/p>\n\u003cp>Their first encounter is not auspicious. Oscar querulously refuses to admit his identity and acknowledge their family connection, but as soon as he runs Marcus off, he falls into a memory of him as a small boy and their then-relationship, full of boisterous posturing on his end and nerd-awkward hero-worship on Marcus’. It’s during these forays into rhythmic reminiscence that Gardley’s roots as a poet are especially evident. He’s not afraid to use ten words where another playwright might use two, flights of lyrical fancy that shoot for the rafters. This innate musicality is a hallmark of Gardley’s work, as is his fascination with stories of epic scope without tidy conclusions: raw, messy, with a touch of magical realism.\u003c/p>\n\u003cp>Gardley’s poetic turn-of-phrase is especially rich in the mouth of Haynes, who joined the cast late in the rehearsal process, but nonetheless embodies his flawed but frequently charming protagonist with empathetic sincerity. With it he woos the headstrong Viola, played with feline grace by Halili Knox (who played Woman Old As Wisdom in 2015), and lulls his daughter to sleep during a rare moment together. In Curry’s mouth the poetry is more tentative, as the character Marcus spends much of the play feeling his way towards adulthood. However, he’s given what may be the most poignant speech of the play at its end, and it’s satisfying to witness his completed transformation into the man he was perhaps always destined to become.\u003c/p>\n\u003cfigure id=\"attachment_13827616\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Dance_1042-800x533.jpg\" alt=\"Halili Knox (Viola) and Berwick Haynes (Oscar) in 'Dance of the Holy Ghosts.' \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Halili Knox (Viola) and Berwick Haynes (Oscar) in ‘Dance of the Holy Ghosts.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where the play fails to satisfy are in some of the more superfluous storylines, particularly those set in young Marcus’ fourth-grade Catholic school classroom, despite Halili Knox’ dual-role as the gamin-cute “new girl,” Marcus’ first crush, and the humorously ineffectual Father Michael (Anthone Jackson). As droll as many of these vignettes are, they distract from the already expansive, non-linear retelling of a history long on detail and short on pith. In all, the play runs close to the three-hour mark, with all the same discomforts and rewards as a church service of the same length might offer: hard pews, inadequate heating, a shot at transcendence.\u003c/p>\n\u003cp>For congregants who take pleasure in the rewards of opening themselves to a shared experience with fellow truth-seekers, this show offers a real opportunity to abandon oneself to the singular melody of Marcus Gardley’s ode to his childhood home. But for those who like their theater with more creature comforts and fewer tests of endurance, \u003cem>Ghosts\u003c/em> might feel less like a revelation and more like a chore.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dance of the Holy Ghosts’ runs through Saturday, March 31, at Oakland Peace Center in Oakland. \u003ca href=\"http://www.ubuntutheaterproject.com\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"description": "Marcus Gardley's vivid family history receives a new production from Ubuntu Theater Project in Oakland.",
"title": "An Oakland Church Holds Family Memories in 'Dance of the Holy Ghosts' | KQED",
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"headline": "An Oakland Church Holds Family Memories in 'Dance of the Holy Ghosts'",
"datePublished": "2018-03-21T15:00:41-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland’s Ubuntu Theater Project last presented Marcus Gardley’s \u003cem>Dance of the Holy Ghosts\u003c/em> in 2015, when it expanded, with assistance from Gardley, from a six-person cast to an ensemble of 15 complete with a gospel chorus. Staged in the aisles of Oakland City Church, Ubuntu brought to life the story of three generations of family history, from the Deep South to the California Coast. \u003c/p>\n\u003cp>Now in a third iteration, with a 17-member ensemble and directed again by Michael Socrates Moran, Ubuntu strikes a mostly effective balance between the ghosts that haunt this sprawling family saga and the earthy humanity that grounds it.\u003c/p>\n\u003cfigure id=\"attachment_13827618\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Dance_355-800x533.jpg\" alt=\"Michael Curry (Marcus) in 'Dance of the Holy Ghosts.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Curry (Marcus) in ‘Dance of the Holy Ghosts.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gardley, who grew up in West Oakland, has an artistically fruitful history of collaborating with Bay Area theatre companies, including Shotgun Players, Cutting Ball Theater, Berkeley Rep, and California Shakespeare Company. But no other West Coast company has tackled \u003cem>Dance of the Holy Ghosts\u003c/em>, Gardley’s homage to his own Oakland roots and complex family history, let alone staged it three times.\u003c/p>\n\u003cp>Additions to the script in 2015 (such as a narrator character, Woman Old As Wisdom) have been removed, though the gospel chorus, who comment on the action and take on various bit parts throughout, remains. Set in the sanctuary of another church (Oakland Peace Center, originally First Christian Church of Oakland) the audience files into the pews while the ensemble sings gospel hymns from the choir loft as the preshow, effectively setting the mood somewhere between reverence and nostalgia.\u003c/p>\n\u003cfigure id=\"attachment_13827617\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Dance_626-1020x1530.jpg\" alt=\"Halili Knox (Viola) in 'Dance of the Holy Ghosts.' \" width=\"640\" height=\"960\" class=\"size-large wp-image-13827617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Halili Knox (Viola) in ‘Dance of the Holy Ghosts.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enter Marcus (Michael Curry), young, suited, somber, alone. He leafs through a leather-bound notebook and begins to sing a Yoruban folk tune, his voice sweet and mournful. Eventually the entire gospel ensemble joins in, arranging themselves on the various levels of the stage as tableaux. In contrast, the only character singing Oscar’s song when he enters from the back of the room is Oscar himself (Berwick Haynes), performing an out-of- character spiritual in a rich baritone, as he progresses slowly down the aisle to take his rightful place centerstage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Part-time patriarch and full-time player, it’s Oscar’s memories that dominate much of the play, interspersed and intertwined with Marcus’, whose attempts to come to terms with his grandfather’s shortcomings as a family man drive his own strolls down memory lane. But before we get to the past, Marcus must find the Oscar of the present to invite him to the funeral of his only child, Marcus’ mother, Darlene (Elizabeth Jones).\u003c/p>\n\u003cp>Their first encounter is not auspicious. Oscar querulously refuses to admit his identity and acknowledge their family connection, but as soon as he runs Marcus off, he falls into a memory of him as a small boy and their then-relationship, full of boisterous posturing on his end and nerd-awkward hero-worship on Marcus’. It’s during these forays into rhythmic reminiscence that Gardley’s roots as a poet are especially evident. He’s not afraid to use ten words where another playwright might use two, flights of lyrical fancy that shoot for the rafters. This innate musicality is a hallmark of Gardley’s work, as is his fascination with stories of epic scope without tidy conclusions: raw, messy, with a touch of magical realism.\u003c/p>\n\u003cp>Gardley’s poetic turn-of-phrase is especially rich in the mouth of Haynes, who joined the cast late in the rehearsal process, but nonetheless embodies his flawed but frequently charming protagonist with empathetic sincerity. With it he woos the headstrong Viola, played with feline grace by Halili Knox (who played Woman Old As Wisdom in 2015), and lulls his daughter to sleep during a rare moment together. In Curry’s mouth the poetry is more tentative, as the character Marcus spends much of the play feeling his way towards adulthood. However, he’s given what may be the most poignant speech of the play at its end, and it’s satisfying to witness his completed transformation into the man he was perhaps always destined to become.\u003c/p>\n\u003cfigure id=\"attachment_13827616\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Dance_1042-800x533.jpg\" alt=\"Halili Knox (Viola) and Berwick Haynes (Oscar) in 'Dance of the Holy Ghosts.' \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Halili Knox (Viola) and Berwick Haynes (Oscar) in ‘Dance of the Holy Ghosts.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where the play fails to satisfy are in some of the more superfluous storylines, particularly those set in young Marcus’ fourth-grade Catholic school classroom, despite Halili Knox’ dual-role as the gamin-cute “new girl,” Marcus’ first crush, and the humorously ineffectual Father Michael (Anthone Jackson). As droll as many of these vignettes are, they distract from the already expansive, non-linear retelling of a history long on detail and short on pith. In all, the play runs close to the three-hour mark, with all the same discomforts and rewards as a church service of the same length might offer: hard pews, inadequate heating, a shot at transcendence.\u003c/p>\n\u003cp>For congregants who take pleasure in the rewards of opening themselves to a shared experience with fellow truth-seekers, this show offers a real opportunity to abandon oneself to the singular melody of Marcus Gardley’s ode to his childhood home. But for those who like their theater with more creature comforts and fewer tests of endurance, \u003cem>Ghosts\u003c/em> might feel less like a revelation and more like a chore.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dance of the Holy Ghosts’ runs through Saturday, March 31, at Oakland Peace Center in Oakland. \u003ca href=\"http://www.ubuntutheaterproject.com\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "ACT's 'Vietgone' Lands Somewhere Between Brilliant and Awful",
"headTitle": "ACT’s ‘Vietgone’ Lands Somewhere Between Brilliant and Awful | KQED",
"content": "\u003cp>Two months ago during the intermission of Star Finch’s terrific \u003cem>Bondage\u003c/em>, I spent fifteen absurd minutes with three random theatergoers parsing and debating the meaning of the title of Qui Nguyen’s \u003cem>Vietgone\u003c/em>, the new play receiving its Bay Area premiere under Jaime Casteneda’s lively direction at ACT’s Strand Theater.\u003c/p>\n\u003cp>I thought the title was an obvious, straightforward reference to the fall of Saigon and the plight of South Vietnamese refugees; a woman wearing a fox fur boa thought it was a clever pun on the Vietcong. “Too clever,” countered a balding gentleman in a plaid jacket, only to be counter-countered by a full-bearded fellow in a black cowboy hat and rhinestone boots. He claimed that all our interpretations “could be subsumed under the playwright’s obvious allusion to Sophocles’ \u003cem>Antigone \u003c/em>and that the play was probably about burying the dead, exile, the proper way to mourn the loss of family, country, and a way of life.”\u003c/p>\n\u003cfigure id=\"attachment_13827086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-800x450.jpg\" alt=\"(L to R) Nhan (Stephen Hu) and Quang (James Seol) helicopter as many people as they can to safety after the fall of Saigon.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Nhan (Stephen Hu) and Quang (James Seol) helicopter as many people as they can to safety after the fall of Saigon. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We all nodded in unison. “Impressive,” baldy in plaid murmured. “Well, whatever it means,” fox fur added, “It must have been agony.” Laughing at her witticism, the house manager ushered us in for the second act. It says a great deal about Nguyen’s roving imagination that everything we said was true, though none of us could have guessed how terrific and awful \u003cem>Vietgone\u003c/em> would be, perhaps the most unbalanced play in terms of quality I’ve seen in some time — or ever for that matter.\u003c/p>\n\u003cp>At his best, Nguyen has written a haunting, neo-Brechtian, rap-infused epic that follows party girl Tong and family man-fighter pilot Quang (a brilliant James Seol) as they escape Saigon, end up in a refugee camp in Arkansas, and discover just how vast America is. That it all ends at a dining room table in 2015 is a wonderful demonstration of how every epic takes us home, even when returning home is an impossibility.\u003c/p>\n\u003cp>Nguyen catches the richness and imperfection of Tong and Quang’s lives in Saigon. Tong is resisting the repeated proposals of the hapless fellow she’s sleeping with from time to time, desperate to escape the expectations of her family to marry and settle down. And Quang is certain of South Vietnamese victory (with American help) or at least not sudden defeat, while yearning to see his young children. When his wife visits him without bringing his son and daughter, he’s devastated, already a ghost to his own life.\u003c/p>\n\u003cfigure id=\"attachment_13827087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-800x451.jpg\" alt=\"Quang (James Seol) is devastated when his wife Thu (Cindy Im) visits him without their children.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173.jpg 1361w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quang (James Seol) is devastated when his wife Thu (Cindy Im) visits him without their children. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neither of these two ordinary people are ready for the Vietcong’s victory. Through no fault of their own they’re catapulted out of one world and into another uncertain American one — Tong with her disapproving mother and Quang with his best friend Nhan. \u003cem>Vietgone\u003c/em> is deadly effective when it’s at its simplest, just people talking to one another about what they care for and what they’ve lost. And Quang and Tong’s hip-hop soliloquies are a perfect example of this.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 1975 hip-hop was just a glimmer in the Sugarhill Gang’s collective unconscious. Nguyen’s ahistorical redeployment of the form is a lovely kind of cultural appropriation before the fact. When you hear Tong and Quang rap to Shammy Dee’s haunting minor key score, you understand how rapping is a solace to all those who are dispossessed and angry. At moments like these you can’t deny that \u003cem>Vietgone\u003c/em> possesses a kind of conceptual genius, and that Nguyen has found or reinvigorated a more fluid and expressive form of playwriting than we’re used to in the American theater.\u003c/p>\n\u003cp>So here’s the damning, sad fact of it all. In the midst of all this brilliance is some truly dreadful writing — weak-minded parodies, sitcom tripe, and post-modern juvenilia. The play begins with the playwright (one of the actors playing Nguyen) laying out the rules of the play. It’s the type of postmodern knowingness and false experimentalism that masks what essentially is a conservative and retrograde impulse: let me lead you by the hand so you do not have to think.\u003c/p>\n\u003cfigure id=\"attachment_13827088\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827088\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-800x440.jpg\" alt=\"(L to R) Tong (Jenelle Chu) and her mother Huong (Cindy Im) argue about the merits of American life.\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-1020x561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-1920x1056.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-1180x649.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-520x286.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Tong (Jenelle Chu) and her mother Huong (Cindy Im) argue about the merits of American life. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than slip into the subtleties of a complex world, the play too often panders to our supposed ignorance and disinterest. Tong’s mother is drawn in such broad, unrealistic strokes that the only way Cindy Im can play her is to wallow in the worst kind of comic shtick. She’s not so much a character as a series of gimmicks and many of her scenes cripple the play’s delicate sense of reality.\u003c/p>\n\u003cp>In not trusting the audience to understand what’s before them, you can sense Nguyen losing trust in his material. In the second act he relies on a series of movie parodies to both move along and comment on the action. Every one of them is a disaster of nonsense, from a montage of rom-com classics (\u003cem>Say Anything\u003c/em>, \u003cem>Ghost\u003c/em>) to a \u003cem>Kill Bill\u003c/em> fight sequence that only serves to remind you what a dedicated and precise artist Quentin Tarantino is.\u003c/p>\n\u003cp>But then there’s the last scene, where the fictionalized playwright Nguyen, who turns out to be Quang’s son, interviews his father. It’s a lovely, funny, and searching conversation that in many ways is a rebuke to Nguyen’s lack of artistic discipline. Hectoring his father to tell him the truth of the Vietnam war, or at least the truth a young liberal artist would want to hear, Quang sets him straight, both politically (“When America come [to fight], they gave us hope”) and artistically — “Stick to writing funny plays, son, this stuff too sad for old man like me to recount just to help you write another war story.”\u003c/p>\n\u003cfigure id=\"attachment_13827092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827092\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-800x440.jpg\" alt=\"Quang (James Seol) and best friend Nhan (Stephen Hu) get into a ruckus with a redneck (Jomar Tagatac).\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-1020x561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-1920x1056.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-1180x649.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-520x286.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quang (James Seol) and best friend Nhan (Stephen Hu) get into a ruckus with a redneck (Jomar Tagatac). \u003ccite>(Pho0to: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a sharp critique from a fictional father to a fictional son of Nguyen’s own making, and real advice that the real Nguyen should have heeded.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Vietgone’ runs through Sunday, April 22, at the Strand Theater in San Francisco. For tickets and information click \u003ca href=\"http://www.act-sf.org\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A mix of war, motorcycles and hip-hop adds up to one of the most unbalanced plays in recent memory.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two months ago during the intermission of Star Finch’s terrific \u003cem>Bondage\u003c/em>, I spent fifteen absurd minutes with three random theatergoers parsing and debating the meaning of the title of Qui Nguyen’s \u003cem>Vietgone\u003c/em>, the new play receiving its Bay Area premiere under Jaime Casteneda’s lively direction at ACT’s Strand Theater.\u003c/p>\n\u003cp>I thought the title was an obvious, straightforward reference to the fall of Saigon and the plight of South Vietnamese refugees; a woman wearing a fox fur boa thought it was a clever pun on the Vietcong. “Too clever,” countered a balding gentleman in a plaid jacket, only to be counter-countered by a full-bearded fellow in a black cowboy hat and rhinestone boots. He claimed that all our interpretations “could be subsumed under the playwright’s obvious allusion to Sophocles’ \u003cem>Antigone \u003c/em>and that the play was probably about burying the dead, exile, the proper way to mourn the loss of family, country, and a way of life.”\u003c/p>\n\u003cfigure id=\"attachment_13827086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-800x450.jpg\" alt=\"(L to R) Nhan (Stephen Hu) and Quang (James Seol) helicopter as many people as they can to safety after the fall of Saigon.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Nhan (Stephen Hu) and Quang (James Seol) helicopter as many people as they can to safety after the fall of Saigon. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We all nodded in unison. “Impressive,” baldy in plaid murmured. “Well, whatever it means,” fox fur added, “It must have been agony.” Laughing at her witticism, the house manager ushered us in for the second act. It says a great deal about Nguyen’s roving imagination that everything we said was true, though none of us could have guessed how terrific and awful \u003cem>Vietgone\u003c/em> would be, perhaps the most unbalanced play in terms of quality I’ve seen in some time — or ever for that matter.\u003c/p>\n\u003cp>At his best, Nguyen has written a haunting, neo-Brechtian, rap-infused epic that follows party girl Tong and family man-fighter pilot Quang (a brilliant James Seol) as they escape Saigon, end up in a refugee camp in Arkansas, and discover just how vast America is. That it all ends at a dining room table in 2015 is a wonderful demonstration of how every epic takes us home, even when returning home is an impossibility.\u003c/p>\n\u003cp>Nguyen catches the richness and imperfection of Tong and Quang’s lives in Saigon. Tong is resisting the repeated proposals of the hapless fellow she’s sleeping with from time to time, desperate to escape the expectations of her family to marry and settle down. And Quang is certain of South Vietnamese victory (with American help) or at least not sudden defeat, while yearning to see his young children. When his wife visits him without bringing his son and daughter, he’s devastated, already a ghost to his own life.\u003c/p>\n\u003cfigure id=\"attachment_13827087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-800x451.jpg\" alt=\"Quang (James Seol) is devastated when his wife Thu (Cindy Im) visits him without their children.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173.jpg 1361w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quang (James Seol) is devastated when his wife Thu (Cindy Im) visits him without their children. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neither of these two ordinary people are ready for the Vietcong’s victory. Through no fault of their own they’re catapulted out of one world and into another uncertain American one — Tong with her disapproving mother and Quang with his best friend Nhan. \u003cem>Vietgone\u003c/em> is deadly effective when it’s at its simplest, just people talking to one another about what they care for and what they’ve lost. And Quang and Tong’s hip-hop soliloquies are a perfect example of this.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 1975 hip-hop was just a glimmer in the Sugarhill Gang’s collective unconscious. Nguyen’s ahistorical redeployment of the form is a lovely kind of cultural appropriation before the fact. When you hear Tong and Quang rap to Shammy Dee’s haunting minor key score, you understand how rapping is a solace to all those who are dispossessed and angry. At moments like these you can’t deny that \u003cem>Vietgone\u003c/em> possesses a kind of conceptual genius, and that Nguyen has found or reinvigorated a more fluid and expressive form of playwriting than we’re used to in the American theater.\u003c/p>\n\u003cp>So here’s the damning, sad fact of it all. In the midst of all this brilliance is some truly dreadful writing — weak-minded parodies, sitcom tripe, and post-modern juvenilia. The play begins with the playwright (one of the actors playing Nguyen) laying out the rules of the play. It’s the type of postmodern knowingness and false experimentalism that masks what essentially is a conservative and retrograde impulse: let me lead you by the hand so you do not have to think.\u003c/p>\n\u003cfigure id=\"attachment_13827088\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827088\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-800x440.jpg\" alt=\"(L to R) Tong (Jenelle Chu) and her mother Huong (Cindy Im) argue about the merits of American life.\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-1020x561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-1920x1056.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-1180x649.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-520x286.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Tong (Jenelle Chu) and her mother Huong (Cindy Im) argue about the merits of American life. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than slip into the subtleties of a complex world, the play too often panders to our supposed ignorance and disinterest. Tong’s mother is drawn in such broad, unrealistic strokes that the only way Cindy Im can play her is to wallow in the worst kind of comic shtick. She’s not so much a character as a series of gimmicks and many of her scenes cripple the play’s delicate sense of reality.\u003c/p>\n\u003cp>In not trusting the audience to understand what’s before them, you can sense Nguyen losing trust in his material. In the second act he relies on a series of movie parodies to both move along and comment on the action. Every one of them is a disaster of nonsense, from a montage of rom-com classics (\u003cem>Say Anything\u003c/em>, \u003cem>Ghost\u003c/em>) to a \u003cem>Kill Bill\u003c/em> fight sequence that only serves to remind you what a dedicated and precise artist Quentin Tarantino is.\u003c/p>\n\u003cp>But then there’s the last scene, where the fictionalized playwright Nguyen, who turns out to be Quang’s son, interviews his father. It’s a lovely, funny, and searching conversation that in many ways is a rebuke to Nguyen’s lack of artistic discipline. Hectoring his father to tell him the truth of the Vietnam war, or at least the truth a young liberal artist would want to hear, Quang sets him straight, both politically (“When America come [to fight], they gave us hope”) and artistically — “Stick to writing funny plays, son, this stuff too sad for old man like me to recount just to help you write another war story.”\u003c/p>\n\u003cfigure id=\"attachment_13827092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827092\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-800x440.jpg\" alt=\"Quang (James Seol) and best friend Nhan (Stephen Hu) get into a ruckus with a redneck (Jomar Tagatac).\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-1020x561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-1920x1056.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-1180x649.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-520x286.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quang (James Seol) and best friend Nhan (Stephen Hu) get into a ruckus with a redneck (Jomar Tagatac). \u003ccite>(Pho0to: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a sharp critique from a fictional father to a fictional son of Nguyen’s own making, and real advice that the real Nguyen should have heeded.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Vietgone’ runs through Sunday, April 22, at the Strand Theater in San Francisco. For tickets and information click \u003ca href=\"http://www.act-sf.org\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-hustle-a-stage-actor-who-lives-in-san-francisco-on-just-30000-a-year",
"title": "A Stage Actor Who Lives in San Francisco on Just $30,000 a Year",
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"content": "\u003cp>For most actors, joining the \u003ca href=\"http://www.actorsequity.org\" target=\"_blank\" rel=\"noopener\">Actors Equity Association\u003c/a> is a game-changer — a path to more exposure and higher wages. Union actors in the Bay Area can often make hundreds of dollars more per week onstage than their non-Equity counterparts, not to mention additional income from lucrative advertising, TV and movie work.\u003c/p>\n\u003cfigure id=\"attachment_13827348\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2.jpg\" alt=\"By the numbers.\" width=\"250\" height=\"333\" class=\"size-full wp-image-13827348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Beth Wilmurt has never joined the union, despite having several opportunities to do so over a nearly three-decade career. One of the most multifaceted and respected theater artists in the Bay Area, she says she’s simply not willing to compromise creativity for compensation.\u003c/p>\n\u003cp>“I didn’t want to limit my opportunities by raising my price,” Wilmurt says. “My interests have always been much wider than the type of work typically offered to union actors in this area.”\u003c/p>\n\u003cp>As a result, on average she makes just $6,000 a year acting. With teaching and other gigs, Wilmurt makes, on average, a whopping $30,000 a year. Money is clearly not a motivating factor.\u003c/p>\n\u003ch2>‘A personal mission’\u003c/h2>\n\u003cp>Wilmurt has appeared in around 60 productions over nearly three decades. She’s a company member of Berkeley’s \u003ca href=\"https://shotgunplayers.org\" target=\"_blank\" rel=\"noopener\">Shotgun Players\u003c/a>, where she’s appeared in many shows; her latest, \u003ca href=\"https://shotgunplayers.org\" target=\"_blank\" rel=\"noopener\">\u003cem>Iron Shoe\u003c/em>s\u003c/a>, is opening this week. Her work spans everything from traditional stage plays by both dead and living playwrights, to underground cabaret shows in which she sings and plays ukulele, to experimental theater pieces involving acts of extreme physical daring.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wilmurt isn’t a trust-fund baby or trophy wife to a startup millionaire. And so appearing on stage is just one of many ways she manages to stay in the Bay Area, which she’s called home her entire life.\u003c/p>\n\u003cfigure id=\"attachment_13827340\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-800x533.jpg\" alt=\"Beth Wilmurt at home in San Francisco with her ukelele.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt at home in San Francisco with her ukelele. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When she’s not rehearsing by day and/or performing by night, Wilmurt spends much of her time teaching music. She directs the \u003ca href=\"http://sfcmc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Community Music Center\u003c/a>’s children’s and senior choruses. She teaches at \u003ca href=\"http://www.sfusd.edu/en/schools/school-information/leonard-flynn.html\" target=\"_blank\" rel=\"noopener\">Leonard R. Flynn Elementary School\u003c/a> in the Mission, and returns each summer to lead workshops at \u003ca href=\"http://www.sugarloafcamp.org/\" target=\"_blank\" rel=\"noopener\">Sugarloaf Fine Arts Camp\u003c/a> near Tahoe. Wilmurt’s also done quite a bit of babysitting to make ends meet. And she’s received several grants for her work from organizations like the \u003ca href=\"http://bellefoundation.org/\" target=\"_blank\" rel=\"noopener\">Belle Foundation\u003c/a>, \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a> and the \u003ca href=\"http://www.auroratheatre.org\">Aurora Theatre\u003c/a>.\u003c/p>\n\u003cp>“All these years, I have been very fulfilled by my teaching and my predominately local non-union acting jobs,” Wilmurt says. “My hustle had been around a personal mission, not a strategic plan for my financial future.”\u003c/p>\n\u003cfigure id=\"attachment_13826875\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-800x533.jpg\" alt=\"Beth Wilmurt in rehearsal for her new show at Shotgun Players, 'Iron Shoes'.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826875\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt in rehearsal for her new show at Shotgun Players, ‘Iron Shoes’. \u003ccite>(Photo: Kieran Beccia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rent control, the ‘golden handcuff’\u003c/h2>\n\u003cp>Most people would agree that the odds against living in one of the world’s most expensive cities on Wilmurt’s annual income of $30,000 are considerable. There are people who spend \u003ca href=\"https://www.bizjournals.com/sanjose/news/2015/12/31/most-expensive-rental-sf-four-seasons-penthouse.html\" target=\"_blank\" rel=\"noopener\">that much money\u003c/a> on a single month’s rent in San Francisco.\u003c/p>\n\u003cp>What makes it possible in large part is the rent-controlled, one-bedroom apartment Wilmurt and her partner, theater director Mark Jackson, have occupied since 1996 in the Haight. She says the place is dilapidated and needs updating. But it runs her $500 a month. “Rent control is the golden handcuff,” Wilmurt says. “If I lost that, I’d have to leave for sure.”\u003c/p>\n\u003cfigure id=\"attachment_13827342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-800x533.jpg\" alt=\"Beth WIlmurt's share of her rent-controlled apartment in the Haight is just $500. "Rent control is the golden handcuff," she says.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt’s share of her rent-controlled apartment in the Haight is just $500. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The performer also keeps a low overhead in other ways. “No car, no internet at home, no Netflix, no cable,” she says. “I’m on a family phone plan — I share 2GB of data with four people. I get massages at the Ashby Flea Market for $10. I look for services that offer sliding scale or trade.”\u003c/p>\n\u003cp>Wilmurt has also gone most of her life without health care, though she currently does have a plan that costs her $100 a month.\u003c/p>\n\u003cp>Wilmurt says keeping a roof over her head has become increasingly difficult over the years. “I was getting by financially and felt fine about it, but now for the first time I am feeling insecure about my financial future as I am feeling the effects of aging,” she says. “The word ‘hustle,’ which I guess is what I’ve been doing all these years, is now feeling like hustling, and needs to be a more financially-driven hustle than art-driven.”\u003c/p>\n\u003cfigure id=\"attachment_13827341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-800x533.jpg\" alt=\"One of the ways Beth Wilmurt saves on her monthly bills? Having a flip phone instead of the latest high-ticket iPhone.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the ways Beth Wilmurt saves on her monthly bills: having no internet in the house and keeping a flip phone. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet despite the challenges, Wilmurt has no plans to leave acting, teaching or, for that matter, San Francisco. She says she’s thinking of taking on private students to boost her bottom line.\u003c/p>\n\u003cp>Wilmurt loves the work she does. And she feels a powerful sense of community in the Bay Area. “I stay here for my artist friends who have hustled and continue to find a way to make thoughtful work despite the increasingly bad economic conditions for artists,” Wilmurt says. “There are a lot of people here who refuse to be stopped.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For most actors, joining the \u003ca href=\"http://www.actorsequity.org\" target=\"_blank\" rel=\"noopener\">Actors Equity Association\u003c/a> is a game-changer — a path to more exposure and higher wages. Union actors in the Bay Area can often make hundreds of dollars more per week onstage than their non-Equity counterparts, not to mention additional income from lucrative advertising, TV and movie work.\u003c/p>\n\u003cfigure id=\"attachment_13827348\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2.jpg\" alt=\"By the numbers.\" width=\"250\" height=\"333\" class=\"size-full wp-image-13827348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Beth Wilmurt has never joined the union, despite having several opportunities to do so over a nearly three-decade career. One of the most multifaceted and respected theater artists in the Bay Area, she says she’s simply not willing to compromise creativity for compensation.\u003c/p>\n\u003cp>“I didn’t want to limit my opportunities by raising my price,” Wilmurt says. “My interests have always been much wider than the type of work typically offered to union actors in this area.”\u003c/p>\n\u003cp>As a result, on average she makes just $6,000 a year acting. With teaching and other gigs, Wilmurt makes, on average, a whopping $30,000 a year. Money is clearly not a motivating factor.\u003c/p>\n\u003ch2>‘A personal mission’\u003c/h2>\n\u003cp>Wilmurt has appeared in around 60 productions over nearly three decades. She’s a company member of Berkeley’s \u003ca href=\"https://shotgunplayers.org\" target=\"_blank\" rel=\"noopener\">Shotgun Players\u003c/a>, where she’s appeared in many shows; her latest, \u003ca href=\"https://shotgunplayers.org\" target=\"_blank\" rel=\"noopener\">\u003cem>Iron Shoe\u003c/em>s\u003c/a>, is opening this week. Her work spans everything from traditional stage plays by both dead and living playwrights, to underground cabaret shows in which she sings and plays ukulele, to experimental theater pieces involving acts of extreme physical daring.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wilmurt isn’t a trust-fund baby or trophy wife to a startup millionaire. And so appearing on stage is just one of many ways she manages to stay in the Bay Area, which she’s called home her entire life.\u003c/p>\n\u003cfigure id=\"attachment_13827340\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-800x533.jpg\" alt=\"Beth Wilmurt at home in San Francisco with her ukelele.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt at home in San Francisco with her ukelele. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When she’s not rehearsing by day and/or performing by night, Wilmurt spends much of her time teaching music. She directs the \u003ca href=\"http://sfcmc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Community Music Center\u003c/a>’s children’s and senior choruses. She teaches at \u003ca href=\"http://www.sfusd.edu/en/schools/school-information/leonard-flynn.html\" target=\"_blank\" rel=\"noopener\">Leonard R. Flynn Elementary School\u003c/a> in the Mission, and returns each summer to lead workshops at \u003ca href=\"http://www.sugarloafcamp.org/\" target=\"_blank\" rel=\"noopener\">Sugarloaf Fine Arts Camp\u003c/a> near Tahoe. Wilmurt’s also done quite a bit of babysitting to make ends meet. And she’s received several grants for her work from organizations like the \u003ca href=\"http://bellefoundation.org/\" target=\"_blank\" rel=\"noopener\">Belle Foundation\u003c/a>, \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a> and the \u003ca href=\"http://www.auroratheatre.org\">Aurora Theatre\u003c/a>.\u003c/p>\n\u003cp>“All these years, I have been very fulfilled by my teaching and my predominately local non-union acting jobs,” Wilmurt says. “My hustle had been around a personal mission, not a strategic plan for my financial future.”\u003c/p>\n\u003cfigure id=\"attachment_13826875\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-800x533.jpg\" alt=\"Beth Wilmurt in rehearsal for her new show at Shotgun Players, 'Iron Shoes'.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826875\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt in rehearsal for her new show at Shotgun Players, ‘Iron Shoes’. \u003ccite>(Photo: Kieran Beccia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rent control, the ‘golden handcuff’\u003c/h2>\n\u003cp>Most people would agree that the odds against living in one of the world’s most expensive cities on Wilmurt’s annual income of $30,000 are considerable. There are people who spend \u003ca href=\"https://www.bizjournals.com/sanjose/news/2015/12/31/most-expensive-rental-sf-four-seasons-penthouse.html\" target=\"_blank\" rel=\"noopener\">that much money\u003c/a> on a single month’s rent in San Francisco.\u003c/p>\n\u003cp>What makes it possible in large part is the rent-controlled, one-bedroom apartment Wilmurt and her partner, theater director Mark Jackson, have occupied since 1996 in the Haight. She says the place is dilapidated and needs updating. But it runs her $500 a month. “Rent control is the golden handcuff,” Wilmurt says. “If I lost that, I’d have to leave for sure.”\u003c/p>\n\u003cfigure id=\"attachment_13827342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-800x533.jpg\" alt=\"Beth WIlmurt's share of her rent-controlled apartment in the Haight is just $500. "Rent control is the golden handcuff," she says.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt’s share of her rent-controlled apartment in the Haight is just $500. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The performer also keeps a low overhead in other ways. “No car, no internet at home, no Netflix, no cable,” she says. “I’m on a family phone plan — I share 2GB of data with four people. I get massages at the Ashby Flea Market for $10. I look for services that offer sliding scale or trade.”\u003c/p>\n\u003cp>Wilmurt has also gone most of her life without health care, though she currently does have a plan that costs her $100 a month.\u003c/p>\n\u003cp>Wilmurt says keeping a roof over her head has become increasingly difficult over the years. “I was getting by financially and felt fine about it, but now for the first time I am feeling insecure about my financial future as I am feeling the effects of aging,” she says. “The word ‘hustle,’ which I guess is what I’ve been doing all these years, is now feeling like hustling, and needs to be a more financially-driven hustle than art-driven.”\u003c/p>\n\u003cfigure id=\"attachment_13827341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-800x533.jpg\" alt=\"One of the ways Beth Wilmurt saves on her monthly bills? Having a flip phone instead of the latest high-ticket iPhone.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the ways Beth Wilmurt saves on her monthly bills: having no internet in the house and keeping a flip phone. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet despite the challenges, Wilmurt has no plans to leave acting, teaching or, for that matter, San Francisco. She says she’s thinking of taking on private students to boost her bottom line.\u003c/p>\n\u003cp>Wilmurt loves the work she does. And she feels a powerful sense of community in the Bay Area. “I stay here for my artist friends who have hustled and continue to find a way to make thoughtful work despite the increasingly bad economic conditions for artists,” Wilmurt says. “There are a lot of people here who refuse to be stopped.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"id": "fresh-air",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
},
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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